Ithaca College Symphonic Band

Elizabeth B. Peterson, conductor

Ford Hall
Thursday October 3rd, 2013
8:15 pm

Program
Symphonic Band

Elizabeth B. Peterson, conductor

Thursday, October 3, 2013

Ecstatic Fanfare (2012)

Steven Bryant
(b. 1972)

Dont You See? (2001)

Donald Grantham
(b. 1947)

Four Scottish Dances (1957)

I. Pesante
II. Vivace
III. Allegretto
IV. Con brio

Malcolm Arnold
(1921-2006)
arr. John P. Paynter

Intermission

George Washington Bridge (1951)

An Impression for Band

Gallimaufry (1992)

I. Church and State

II. Inn and Out
III. Starts and Fits
IV. Father and Son
V. Advance and Retreat
VI. Church and Status Quo

William Schuman
(1910-1992)

Guy Woolfenden
(b. 1937)

Program Notes
Ecstatic Fanfare is based on music from movement I of my
Ecstatic Waters. One day in May, 2012, I mentioned to my wife
that it might be fun to take the soaring, heroic tutti music from
the earlier work and turn it into a short fanfare someday. She
goaded me into doing it immediately, and so in a panicked
three-day composing frenzy, I created this new work, which
was premiered by Johann Msenbichler with the
Polizeiorchester Bayern just three short weeks later, followed
immediately by my wife, Verena, conducting it with the World
Youth Wind Orchestra Project in July, 2012.
-Program note by Steven Bryant
Dont You See? is in memory of and dedicated to Stephen J.
Paul, who enriched the professional and personal lives of
teachers, students, family and friends in his passionate efforts
to elevate the teaching profession. Professor Paul died
unexpectedly at the age of 48 in the prime of his career.
Grantham said, I had long considered the possibility of a piece
based on African American spirituals, and their wide-ranging
emotional and expressive qualities seemed ideal for this
particular occasion. In Dont You See?, three highly
contrasting yet complementary spirituals are employed. The
first half of the piece is based on Death Aint Nothin but a
Robber, a lament that cuts to the heart of the experience of
loss. The text reads in part: Death aint nothin but a robber,
dont you see? The second half of the piece becomes more
hopeful and affirmative with the appearance of Ive just Come
from the Fountain, and Blow the Trumpet, Gabriel. These
two spirituals interact with increasing exuberance until the
climax, when six virtuosic trumpet parts resolve into a
fragment of the opening spiritual.
-Program note by Donald Grantham
The dances from Four Scottish Dances were composed early
in 1957, and are dedicated to the BBC Light Music Festival.
They are all based on original melodies but one, the melody of
which is composed by Robert Burns.
The first dance is in the style of a strathspey-a slow Scottish
dance in 4/4 meter-with many dotted notes, frequently in the

inverted arrangement of the "Scottish snap." The name was

derived from the strath valley of Spey.
The second, a lively reel, begins in the key of E-flat and rises a
semi-tone each time it is played until the bassoon plays it, at a
greatly-reduced speed, in the key of G. The final statement of
the dance is at the original speed in the home key of E-flat.
The third dance is in the style of a Hebridean Song, and
attempts to give an impression of the sea and mountain
scenery on a calm summer's day in the Hebrides.
The last dance is a lively fling, which makes a great deal of use
of the open string pitches of the violin (saxophones in the band
edition).
-Program Note by Malcolm Arnold
There are a few days in the year when I do not see George
Washington Bridge. I pass it on my way to work as I drive along
the Henry Hudson Parkway on the New York shore. Ever since
my student days when I watched the progress of its
construction, this bridge has had for me an almost human
personality, and this personality is astonishingly varied,
assuming different moods depending on the time of day or
night, the weather, the traffic and, of course, my own mood as I
pass by.
I have walked across it late at night when it was shrouded in
fog, and during the brilliant sunshine hours of midday. I have
driven over it countless times and passed under it on boats.
Coming to New York City by air, sometimes I have been lucky
enough to fly right over it. It is difficult to imagine a more
gracious welcome or dramatic entry to the great metropolis.
-Program Note by William Schuman
Gallimaufry: A medley; any confused jumble of things; but
strictly speaking a hotch-potch made up of all the scraps of the
larder.
From Shakespeares The Winters Tale: a gallimaufry of
gambols and the The Merry Wives of Windsor:
He woos both high and low, both rich and poor,
Both young and old, one with another, Ford;
He loves the gallimaufry.

This suite for concert band was inspired by Shakespeares

Henry IV plays and derived from music written for the Royal
Shakespeare Companys productions which opened the
Barbican Theatre, London, in June 1982. Dedicated to the
director, Trevor Nunn, then the Artistic Director of the Royal
Shakespeare Company, with grateful thanks for his suggestion
that I should expand and mold the music for these productions
into a form suitable for concert performance. The work is
continuous and the thematic material of each of the six
sections closely related.
Movement One: Church and State
Leadership; the establishment; temporal and ecclesiastical
power
Movement Two: Inn and Out
The Boars Head Tavern; the Stews; low-life revels
Movement Three: Starts and Fits
Tavern Brawl; Gadshill ambush; Pistol the swaggerer
evicted; Mistress Quicklys rescue.
Movement Four: Father and Son
Relationship of King Henry and Falstaff to Prince Hall; real and
surrogate parent.
Movement Five: Advance and Retreat
Recruiting March derived from the Tavern tune
Movement Six: Church and Status Quo
Falstaff rejected. Hal becomes King; order restored
-Program Note by Guy Woolfenden

Personnel
Symphonic Band
Piccolo
Chelsea Lanphear
Flute
Krysten Geddes*
Chrysten
Angderson
Jeannette Lewis
Stephanie
LoTempio
Thomas Barkal
Kaitlin Schneider
Elizabeth
Suttmeier
Alison Miller
Oboe
Candace
Crawford*
Hannah Cerezo
Jimmy Wang
Melissa DeMarinis
English Horn
Hannah Cerezo
Bassoon
Amanda
Nauseef*
Nicole Lane
Eb Clarinet
Gladys Wong
Clarinet
Cara Kinney*
Kaleb Lohmann
Tasha Dotts
Miranda Schultz
Nikhil Bartolomeo
Courtnie Elscott
Maggie Nabumoto
Nathan Balester
Sarah Zschunke

Bass Clarinet
Jenna DiMento
Emily Nemeth

Euphonium
Danielle Wheeler
Elise Daigle

Alto Saxophone
Wenbo Yin*
Stephanie Zhang
Yuyang Zhang
Deniz Arkali

Tuba
Andrew
Satterberg*
Cristina Saltos

Tenor
Saxophone
Will VanDeMark
Alex Clift
Baritone
Saxophone
Matthew Snyder
Trumpets
Rosie Ward*
Matt Venora
Max Deger
Chris Walsh
Jon Tompkins
Lauren Marden
Vito Sicurella
Mark Farnum
John Kissell
Horn
Grace Demerath*
Niki Friske
Emily DeRoo
Matt Ficarra
Trombone
Matt Sidilau*
Kiersten Roetzer
Sierra Vorsheim
Teresa Diaz
Nicole Sisson
Mike Nave
Christian Kmetz

Percussion
Corey Hilton*
Nicole Dowling
Ashley Gillis
Corinne Steffens
Derek Wohl
Timpani
Rose Steenstra
Bass
Nora Murphy
Mengfei Xu
Harp
Caroline Reyes,
guest artist
*section leader

Biographies
Elizabeth Peterson, professor of music, is the conductor of
the Ithaca College Symphonic Band and has been a member of
the music education department at the Ithaca College School of
Music since 1998. Peterson teaches instrumental conducting
and supervises instrumental student teachers at the junior
level. Additionally, she is the placement coordinator for the
Junior Instrumental Student Teaching program. She has taught
brass and woodwind pedagogy, secondary instrumental
methods, and graduate level music education courses.
Peterson has conducted the Ithaca College Brass Choir and
All-Campus Band. Her research interests include the study of
first year music teachers and the pursuit of music and life long
learning.
Dr. Peterson is active as a guest conductor, adjudicator, and
school music consultant in the United States and Canada. She
presents clinics at the local, state and national levels in the
field of music education. Petersons book, The Music
Teachers First Year: Tales of Challenge Joy and
Triumph, is published by Meredith Music.
Professor Peterson received Bachelors Degrees in Music
Education and English from the University of Michigan and a
Masters Degree in Trumpet Performance and Music Education
from Northwestern University. She has a Doctor of Musical Arts
in Music Education Degree from Shenandoah Conservatory.
Peterson played trumpet in the North Shore Community Band
under the direction of John P. Paynter and studied trumpet with
Armando Ghittala and Vincent Cichowicz.
Prior to her appointment at Ithaca College, Peterson was an
arts administrator and director of bands in the public schools of
Ohio and Illinois for ten years. She is a New Music reviewer
for the Instrumentalist Magazine and been published in that
magazine, as well as the Music Educators Journal. She
currently serves as co-conductor of the Ithaca Concert Band,
Ithaca's adult community band. Dr. Peterson holds a number of
professional memberships including the College Band Directors
National Association, The National Association for Music
Education, New York State School Music Association, Phi Kappa
Phi and Pi Kappa Lambda (an honorary music fraternity).
Peterson is also a member of the Midwest Clinic Board of
Directors.